Shailene Woodley channels noir futurism—belted, bold, and a little bit beastly—in a portrait session that feels more like a fashion exorcism than a press junket.
There’s something deliciously off-kilter about Shailene Woodley’s TIFF 2025 appearance for TheWrap’s Portrait Studio. Not red carpet, not street style—this is a controlled detonation of celebrity fashion norms, staged in grayscale and delivered with claws out.
Let’s start with the silhouette: a dark, belted coat with exaggerated sleeves that billow like a noir heroine’s final act. The fabric reads matte, almost armor-like, with no visible embellishment—just pure structure. It’s the kind of piece that doesn’t whisper designer; it roars concept. Whether it’s archival Yohji or a custom piece (unconfirmed at press time), the coat’s architectural heft anchors the entire look.
Accessories? Minimal, but surgical. Oversized sunglasses obscure the eyes, adding a layer of anonymity that feels intentional—Woodley isn’t here to emote, she’s here to embody. No jewelry, no bag, no distractions. The absence is the statement.
Her pose—one arm raised, the other bent—evokes movement, but also menace. It’s part flamenco, part fashion witchcraft. The monochrome palette amplifies the drama, stripping away color to leave only attitude. Lighting is stark, studio-flat, which only heightens the theatricality.
Never one to play it safe, Shailene Woodley stepped onto the red carpet at the “Christy” premiere during the Toronto International Film Festival in a bold, military-inspired ensemble.
Shailene Woodley’s look was all about sharp angles and rich texture. For the premiere, Woodley chose a striking cape-like coat from Max Mara , a piece that subverted traditional outerwear with its cropped, dramatic silhouette. The deep, olive-green wool of the Verna Camel Coat with Belt felt both luxurious and rugged. It was worn over what appeared to be a matching mini-dress, cinched at the waist with a thick tie belt. The overall effect was powerful yet playful, a perfect example of how a single garment can create an entire mood.
The Max Mara Mary Janes in leather grounded the look, their blocky heels and thick straps offering a utilitarian contrast to the flow of the cape. Woodley’s decision to pair the ensemble with sheer black tights added a classic, almost nostalgic touch, balancing the outfit’s more modern elements. She carried a sleek black bag, though its brand was not immediately visible. Minimalist jewelry, including several silver rings, completed the look, keeping the focus squarely on the bold silhouette.
Angourie Rice brought cinematic drama to the TIFF red carpet—her voluminous black gown and burgundy heels whispered Old Hollywood, but the updo screamed 2025 precision.
Angourie Rice knows how to make an entrance. At the September 5 premiere of Steal Away during the Toronto International Film Festival, the Australian actress stepped onto the red carpet with a look that felt equal parts screen siren and sculptural modernist.
Her black gown—cut with a high-low hemline that teased the burgundy heels beneath—was a masterclass in proportion play. The fitted bodice, anchored by thick shoulder straps, gave way to a voluminous skirt that moved like shadow and silk. It’s unclear whether the piece hails from a major house or a rising atelier, but the craftsmanship speaks for itself: this is tailoring with intent.
Accessories were kept classic. A delicate necklace and matching earrings added just enough sparkle to catch the flashbulbs, while her burgundy heels offered a rich contrast that grounded the monochrome palette. The color choice was subtle, but smart—like a wink from a noir heroine who knows she’s being watched.
For those tracking red carpet evolution, this premiere moment is a reminder: elegance isn’t extinct, it’s just been re-engineered.
